Themes are the fundamental and often universal ideas explored in a literary work.
Throughout the novel, Holden seems to be excluded from and victimized by the world around him. As he says to Mr. Spencer, he feels trapped on “the other side” of life, and he continually attempts to find his way in a world in which he feels he doesn’t belong.
As the novel progresses, we begin to perceive that Holden’s alienation is his way of protecting himself. Just as he wears his hunting hat (see “Symbols,” below) to advertise his uniqueness, he uses his isolation as proof that he is better than everyone else around him and therefore above interacting with them. The truth is that interactions with other people usually confuse and overwhelm him, and his cynical sense of superiority serves as a type of self-protection. Thus, Holden’s alienation is the source of what little stability he has in his life.
As readers, we can see that Holden’s alienation is the cause of most of his pain. He never addresses his own emotions directly, nor does he attempt to discover the source of his troubles. He desperately needs human contact and love, but his protective wall of bitterness prevents him from looking for such interaction. Alienation is both the source of Holden’s strength and the source of his problems. For example, his loneliness propels him into his date with Sally Hayes, but his need for isolation causes him to insult her and drive her away. Similarly, he longs for the meaningful connection he once had with Jane Gallagher, but he is too frightened to make any real effort to contact her. He depends upon his alienation, but it destroys him.
According to most analyses, The Catcher in the Rye is a bildungsroman, a novel about a young character’s growth into maturity. While it is appropriate to discuss the novel in such terms, Holden Caulfield is an unusual protagonist for a bildungsroman because his central goal is to resist the process of maturity itself. As his thoughts about the Museum of Natural History demonstrate, Holden fears change and is overwhelmed by complexity. He wants everything to be easily understandable and eternally fixed, like the statues of Eskimos and Indians in the museum. He is frightened because he is guilty of the sins he criticizes in others, and because he can’t understand everything around him. But he refuses to acknowledge this fear, expressing it only in a few instances—for example, when he talks about sex and admits that “[s]ex is something I just don’t understand. I swear to God I don’t” (Chapter 9).
Instead of acknowledging that adulthood scares and mystifies him, Holden invents a fantasy that adulthood is a world of superficiality and hypocrisy (“phoniness”), while childhood is a world of innocence, curiosity, and honesty. Nothing reveals his image of these two worlds better than his fantasy about the catcher in the rye: he imagines childhood as an idyllic field of rye in which children romp and play; adulthood, for the children of this world, is equivalent to death—a fatal fall over the edge of a cliff. His created understandings of childhood and adulthood allow Holden to cut himself off from the world by covering himself with a protective armor of cynicism. But as the book progresses, Holden’s experiences, particularly his encounters with Mr. Antolini and Phoebe, reveal the shallowness of his conceptions.
“Phoniness,” which is probably the most famous phrase from The Catcher in the Rye, is one of Holden’s favorite concepts. It is his catch-all for describing the superficiality, hypocrisy, pretension, and shallowness that he encounters in the world around him. In Chapter 22, just before he reveals his fantasy of the catcher in the rye, Holden explains that adults are inevitably phonies, and, what’s worse, they can’t see their own phoniness. Phoniness, for Holden, stands as an emblem of everything that’s wrong in the world around him and provides an excuse for him to withdraw into his cynical isolation.
